Canon 85mm F1.4 L VCM

Image: Canon

Canon has announced the RF 85mm F1.4 L VCM, a prime lens offering a classic portrait focal length and fast maximum aperture.

The lens sits between the more expensive 85mm F1.2 lenses and the sharp but slow-to-focus 85mm F2.0 IS STM Macro. The new lens slots into the company's expanding range of F1.4 VCM primes, and is a very close match in terms of size and weight.

The design utilizes digital corrections but these can be disengaged, if you prefer, as they are not an essential part of the design of a moderate tele lens. The lens is built in the same 76.5 x 99.6mm body as the 20, 24, 35 and 50mm F1.4 L VCM models. It also uses the same 67mm filters.

Its 14 element / 10 group design uses one ultra-low dispersion (UD) element and one molded glass aspherical element. Two of its rear elements have Canon's 'Air Sphere' coating, to reduce flare and ghosting. Collectively these bring the weight of the lens to 636g, making it the heaviest lens in the set. Like its siblings, it features a aperture ring, along with dust and moisture resistant design and fluorine coatings to protect the front element from dirt and water.

The lens has a close-focus distance of 0.75m (29"), giving 0.12x maximum magnification.

The unified size and option to de-click the aperture ring (at cost, by a Canon service center) are designed to make it well suited to video, as well as stills. The lens also has relatively little focus breathing, which can be essentially eliminated on bodies that support the breathing correction function.

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Unlike the 24, 35 and 50mm lenses, the 85mm doesn't have a floating focus element so, like the 20mm, uses only a voice coil autofocus motor, rather than also utilizing a Nano USM motor.

The Canon RF 85mm F1.4 L VCM will be available from October at a recommended price of $1649.

Press release:

Firmware updates for select Canon Cinema EOS cameras and new PowerShot ELPH 360 HS A camera also available

MELVILLE, NY, September 9, 2025 – Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to introduce the new EOS C50 cinema camera, the newest addition to Canon’s cinema EOS system. The EOS C50 is a compact, full-frame cinema camera featuring a brand new 7K full-frame CMOS sensor, 7K 60P internal RAW recording and 32 megapixel still photo capture, making it a true hybrid camera. Weighing approximately one and a half pounds, the EOS C50 is Canon’s smallest and lightest cinema camera ever, making it ideal for handheld and verité shooting.

The lightweight design and hyper-mobile form factor the EOS C50 camera meets growing demands from shooters who are increasingly looking for compact, ergonomic cinema cameras for a variety of settings and shooting styles. Excellent for large and small scale productions, documentary shooting in the field, social media video creation, sports, and more, the EOS C50 camera features a detachable top handle which adds two full-size XLR audio inputs, a start-stop button, and a zoom rocker for unbeatable agility. It also features an RF-mount, lending it native compatibility with a wide variety of Canon lenses, such as the new RF85mm F1.4 L VCM Hybrid Lens.

EOS C50 Camera Recording Options

At the heart of the EOS C50 camera is the 7K full-frame CMOS sensor, which is capable of a Dual Base ISO of 800 and 6400 in Canon Log 2, and 12-bit Cinema RAW Light recording at up to 7K 60P. This powerful sensor is coupled with a DIGIC DV7 processor. The EOS C50 is the first camera in the Cinema EOS lineup to feature the full frame 3:2 open gate recording. In addition to Cinema RAW Light and the standard XF-AVC, the EOS C50 camera also features XF- AVC S and XF-HEVC S recording codecs, proving an easy-to-manage naming system and folder structure, all while preserving metadata and recording in the familiar MP4 format.

Social media shooters will enjoy that the EOS C50 camera is capable of simultaneous crop recording when shooting in 4K DCI or UHD, allowing you to record at a chosen aspect ratio while also recording a cropped portion of the frame in 2K. When shooting in simultaneous crop mode, the three format options include: 9:17, 9:16, or 1:1.

For those looking for camera connectivity, the EOS C50 camera supports XC protocol which allows for remote control over IP via Wi-Fi® or a compatible third-party USB-C ethernet adapter. The EOS C50 camera is also compatible with the Multi Camera Control App and features native integration of frame.io camera to cloud.

New RF-Mount RF85mm F1.4 L VCM Hybrid Lens

The new RF-Mount RF85mm F1.4 L VCM Hybrid lens is the latest addition to Canon’s line of VCM lenses, designed for shooters who increasingly are seeking powerful options whether shooting stills or video content. The RF85mm F1.4 L VCM has a focal length of 85mm, making it perfect for portrait-style shooting. The lens provides beautiful background blurring, as well as a F1.4 Maximum aperture, and well-controlled focus breathing.

Firmware Updates for EOS C400, C80, C70, and R5C Cameras

A new firmware update for select Canon Cinema EOS cameras bring in a few of these bleeding-edge features, available later this year. New firmware updates will enable full frame 3:2 open gate recording (EOS C400), view assist in media mode, quality improvement of focus peaking, improved assign buttons, improved Joy-Stick operability (EOS C80 and EOS C400), and more.

New PowerShot ELPH 360 HS A

Originally released in 2016, the PowerShot ELPH 360 HS still remains a popular compact camera. Appealing to fans of pocketable point and shoot style cameras, the newly updated PowerShot ELPH 360 HS A camera’s memory card slot will be changed from SD to microSD to help meet emerging needs in the compact camera market. The PowerShot ELPH 360 HS A camera will be available in two colors, black and silver.

Pricing and Availability

The Canon EOS C50 camera is currently scheduled to ship towards the end of Q4 of 2025 for an estimated retail price of $3,899.00*. The firmware updates for EOS C400, C80, C70, and the R5C cameras are currently scheduled to be available in Q4 of 2025. The RF85mm F1.4 L VCM lens is currently scheduled to be available in September 2025 for an estimated retail price of $1,649.00*. The new PowerShot ELPH 360 HS A camera is currently scheduled to be available in October 2025 for an estimated retail price of $379.99*. For more information, please visit www.usa.canon.com.

* Specifications, availability and prices are subject to change without notice.

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Canon has announced the PowerShot Elph 360 HS A (IXUS 285 HS A outside the US) a minor revision to one of its compact cameras that loses a few features compared to its predecessor. At the same time, the price has crept up slightly.

From an imaging standpoint, the PowerShot 360 HS A is the same as the PowerShot 360 HS that Canon released in 2016. It has a 20.2MP Type 1/2.3 (6.17 x 4.55 mm) BSI CMOS sensor, paired with a 4.5-54mm (25–300 mm equiv) F3.6-7 lens, which provides a 10x optical zoom. It still uses the Digic 4+ processor and has a mini USB port just for data transfer; you'll have to charge the battery by taking it out of the camera and plugging it into a charging brick.

There is one physical change, however: instead of a full-size SD card slot, it now takes microSD cards instead. There are some software differences too. Canon says you'll no longer be able to download images from the camera to a computer over Wi-Fi, nor will you be able to wirelessly send images from the camera to a PictBridge printer, though it can still connect to the company's smartphone app. The company also won't be producing a purple version of the camera this time around; the camera will only come in black or silver.

The PowerShot 360 HS A will retail for $379. That represents a $170 increase from the original's MSRP when it launched in 2016, though only a $20 premium over what the camera has been selling for recently. It will be available at the end of October.

Press release:

Firmware updates for select Canon Cinema EOS cameras and new PowerShot ELPH 360 HS A camera also available

MELVILLE, NY, September 9, 2025 – Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to introduce the new EOS C50 cinema camera, the newest addition to Canon’s cinema EOS system. The EOS C50 is a compact, full-frame cinema camera featuring a brand new 7K full-frame CMOS sensor, 7K 60P internal RAW recording and 32 megapixel still photo capture, making it a true hybrid camera. Weighing approximately one and a half pounds, the EOS C50 is Canon’s smallest and lightest cinema camera ever, making it ideal for handheld and verité shooting.

The lightweight design and hyper-mobile form factor the EOS C50 camera meets growing demands from shooters who are increasingly looking for compact, ergonomic cinema cameras for a variety of settings and shooting styles. Excellent for large and small scale productions, documentary shooting in the field, social media video creation, sports, and more, the EOS C50 camera features a detachable top handle which adds two full-size XLR audio inputs, a start-stop button, and a zoom rocker for unbeatable agility. It also features an RF-mount, lending it native compatibility with a wide variety of Canon lenses, such as the new RF85mm F1.4 L VCM Hybrid Lens.

EOS C50 Camera Recording Options

At the heart of the EOS C50 camera is the 7K full-frame CMOS sensor, which is capable of a Dual Base ISO of 800 and 6400 in Canon Log 2, and 12-bit Cinema RAW Light recording at up to 7K 60P. This powerful sensor is coupled with a DIGIC DV7 processor. The EOS C50 is the first camera in the Cinema EOS lineup to feature the full frame 3:2 open gate recording. In addition to Cinema RAW Light and the standard XF-AVC, the EOS C50 camera also features XF- AVC S and XF-HEVC S recording codecs, proving an easy-to-manage naming system and folder structure, all while preserving metadata and recording in the familiar MP4 format.

Social media shooters will enjoy that the EOS C50 camera is capable of simultaneous crop recording when shooting in 4K DCI or UHD, allowing you to record at a chosen aspect ratio while also recording a cropped portion of the frame in 2K. When shooting in simultaneous crop mode, the three format options include: 9:17, 9:16, or 1:1.

For those looking for camera connectivity, the EOS C50 camera supports XC protocol which allows for remote control over IP via Wi-Fi® or a compatible third-party USB-C ethernet adapter. The EOS C50 camera is also compatible with the Multi Camera Control App and features native integration of frame.io camera to cloud.

New RF-Mount RF85mm F1.4 L VCM Hybrid Lens

The new RF-Mount RF85mm F1.4 L VCM Hybrid lens is the latest addition to Canon’s line of VCM lenses, designed for shooters who increasingly are seeking powerful options whether shooting stills or video content. The RF85mm F1.4 L VCM has a focal length of 85mm, making it perfect for portrait-style shooting. The lens provides beautiful background blurring, as well as a F1.4 Maximum aperture, and well-controlled focus breathing.

Firmware Updates for EOS C400, C80, C70, and R5C Cameras

A new firmware update for select Canon Cinema EOS cameras bring in a few of these bleeding-edge features, available later this year. New firmware updates will enable full frame 3:2 open gate recording (EOS C400), view assist in media mode, quality improvement of focus peaking, improved assign buttons, improved Joy-Stick operability (EOS C80 and EOS C400), and more.

New PowerShot ELPH 360 HS A

Originally released in 2016, the PowerShot ELPH 360 HS still remains a popular compact camera. Appealing to fans of pocketable point and shoot style cameras, the newly updated PowerShot ELPH 360 HS A camera’s memory card slot will be changed from SD to microSD to help meet emerging needs in the compact camera market. The PowerShot ELPH 360 HS A camera will be available in two colors, black and silver.

Pricing and Availability

The Canon EOS C50 camera is currently scheduled to ship towards the end of Q4 of 2025 for an estimated retail price of $3,899.00*. The firmware updates for EOS C400, C80, C70, and the R5C cameras are currently scheduled to be available in Q4 of 2025. The RF85mm F1.4 L VCM lens is currently scheduled to be available in September 2025 for an estimated retail price of $1,649.00*. The new PowerShot ELPH 360 HS A camera is currently scheduled to be available in October 2025 for an estimated retail price of $379.99*. For more information, please visit www.usa.canon.com.

* Specifications, availability and prices are subject to change without notice.

• JPEG (Exif v2.3)

• Contrast Detect (sensor)
• Multi-area
• Center
• Selective single-point
• Single
• Continuous
• Face Detection
• Live View

• Program
• Hybrid Auto
• Auto
• Creative Shot

• Portrait
• Smile
• Wink Self-Timer
• Face Self-Timer
• High-Speed Burst
• Handheld Night Scene
• Low Light
• Fireworks
• Long Shutter

• Single
• Continuous
• Self-timer (2 or 10 secs, custom)

• Multi
• Center-weighted
• Spot

For those looking to dramatically downsize on both space and budget, Dragon Tiny Homes' new Sora may fit the bill. The tiny house has a length of just 16 ft (4.8 m), while squeezing in sleeping space for two, a home office, and even room for the occasional guest.

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Category: Tiny Houses, Outdoors

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Sigma has announced the 20-200mm F3.5-6.3 DG Contemporary, a full-frame lens that packs a lot of range into a small space. Its size and weight could make it an interesting pick for those looking for a lens to document their travels.

The lens is made of 18 elements in 14 groups, with one FLD element, three SLD elements and four aspherical elements. It can accept 72mm filters.

At its shortest, the lens is 117.5mm (4.6"), though it extends to around 190.5mm (7.5") at its longest. Zooming in will also reduce your maximum aperture relatively quickly; it can only achieve F3.5 at its widest setting before dropping down to F4 until 28mm. At 35mm it's F4.5, which goes to F5.6 at 50mm before settling at F6.3 at 85mm. It weighs 540g (19oz).

It has an autofocus/manual focus switch and a zoom lock to keep it from extending while you're carrying it. The construction is splash and dust resistant.

The Sigma 20-200mm F3.5-6.3 DG Contemporary will cost $999, and is available for Sony E mount and L mount.

Press release:

Ronkonkoma, NY, September 9, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to introduce the Sigma 20-200mm F3.5-6.3 DG | Contemporary lens for full-frame mirrorless cameras, available in late September 2025. It is the world's first 10x zoom lens to begin with an ultra-wide 20mm focal length designed for full-frame mirrorless.

The Sigma 20-200mm F3.5-6.3 DG | Contemporary is a unique all-in-one zoom lens covering ultra-wide to telephoto in a single compact lens. Given its compact size, it’s rare to have a focal range that allows the photographer to shoot quickly and easily between expansive landscapes and establishing scenes, to close-up details or action shots. This lens’s 20mm starting range is much wider than the average high-power zoom lens, and is a feat of engineering weighing in at only 550 grams* in a 4.5 inch body. Ideal for travel photography and everyday documentation of life’s moments, this lens is the perfect all-around lens for any photographer.

A maximum magnification ratio of 1:2 is achieved at a focal range of 28mm to 85mm. At 28mm, one can capture a broad background to emphasize depth, while at 85mm the background can be blurred extensively for a clean look. Even at the telephoto end of 200mm, a magnification ratio of 1:3.3 still enables close-up shooting.

Swift, accurate autofocus is driven by Sigma’s HLA (High-response Linear Actuator) motor, allowing for fast subject acquisition and tracking.

The optical design, which properly positions four aspherical lenses, one FLD glass element, and three SLD glass elements, combined with an internal mechanism that precisely maintains each zoom group, enables high performance across the entire zoom range despite the high zoom ratio. Aberrations are thoroughly corrected, and flare and ghosting are kept to a minimum.

The Sigma 20-200mm F3.5-6.3 DG | Contemporary lens will be available in late September at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $999 USD.

* Measurements are for L-Mount.

An all-rounder that empowers limitless creativity. The world’s first* 10x zoom starting at an ultra-wide 20mm.

The Sigma 20-200mm F3.5-6.3 DG | Contemporary is the world’s first high-power zoom lens for full-frame mirrorless cameras that achieves both 20mm at the wide end and a 10x zoom ratio. This versatile zoom lens covers everything from ultra-wide 20mm to telephoto 200mm, allowing photographers to capture subjects ranging from sweeping landscapes to fast-paced sports without being constrained by distance. Its flexibility makes it ideal for a wide variety of scenes, including close-ups with a maximum magnification ratio of 1:2. With its broad expressive capabilities, the lens truly shines in travel photography and everyday snapshots. The lens delivers a consistently comfortable shooting experience, with its thoroughly compact and lightweight design, as well as fast, accurate autofocus powered by a linear motor HLA (High-response Linear Actuator). The Sigma 20-200mm F3.5-6.3 DG | Contemporary is the ultimate all-in-one zoom lens, offering all photographers unprecedented freedom and creativity.

* As of September 2025, by Sigma.

KEY FEATURES

The world’s first 20-200mm for unleashing creative freedom

Zoom versatility meets expressive ultra-wide 20mm – in one lens

The lens covers the ultra-wide angle of 20mm, which has been difficult to achieve with conventional high-power zoom lenses. Handling everything from majestic landscapes to sports, the lens perfectly captures both scenes unique to ultra-wide angles and applications that take advantage of its telephoto range. With a comprehensive zoom range of 20mm to 200mm, this ultimate all-in-one zoom lens delivers stunning details across a wide variety of shooting situations.

Maximum magnification ratio of 1:2 at the focal lengths of 28-85mm

The lens achieves a maximum magnification ratio of 1:2 at the focal lengths from 28mm to 85mm, enabling photographers to enjoy a broad range of half-macro photography with different angles of view, from wide macro shots that boldly incorporate the background by moving closer to the subject, to medium telephoto macro shots that highlight the subject at a natural distance.

Compact and lightweight design that delivers exceptional mobility

Thoroughly compact and lightweight design

This lens is the world's first to achieve a vast zoom range from ultra-wide 20mm to telephoto 200mm, while weighing only 550g and measuring just 115.5mm in length*. The zoom ring diameter is a very slim 70.4mm, making it highly portable. Without worrying about size or weight, the lens provides extensive creative flexibility in any situation, from everyday snapshots to travel photography.

* The figures are for L-mount

Optical and mechanical design realizing both compact size and high performance

Incorporating high-refractive-index glass materials reduces lens movement during zooming. This enables a simple internal structure and slim lens body. The optical design, which properly positions four double-sided aspherical lenses, one FLD glass, and three SLD glass elements, combined with an internal mechanism that maintains high precision in each zoom group, also delivers high performance across the entire zoom range.

High-speed autofocus and versatile features for effortless shooting

HLA-driven high-speed AF

To help photographers capture even the most fleeting moments, the lens uses an HLA (High-response Linear Actuator) to achieve high-speed autofocus functionality with excellent drive accuracy.

Dust- and splash-resistant structure* and water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the front element of the lens features a water- and oil-repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.

* The structure is designed to be dust- and splash- resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

Equipped with a zoom lock switch at the wide end

features a zoom lock switch that can be fixed at the wide end to prevent the lens from extending unintentionally under its own weight. The lock can be released not only by the switch but also via zoom operation, allowing for flexible handling of even impromptu shooting.

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

LIST OF FEATURES

• HLA (High-response Linear Actuator)
• Water- and oil-repellent coating
• Focus mode switch
• Zoom lock switch
• Dust- and splash- resistant structure
• Mount Conversion Service available
• Support for switching between linear and non-linear focus ring settings (for L-Mount only*)
• Compatible with Sigma USB Dock UD-11 (sold separately / for L-Mount only)
• Every single lens undergoes Sigma’s proprietary MTF measuring system

* Only on supported cameras.

Hot on the heels of the stabilized 200mm F2, Sigma is releasing another first for mirrorless systems: the 135mm F1.4 DG Art. While there have been a few similarly fast manual-focus only 135mm lenses, and several fully-featured 135mm F1.8s, this is the first to feature both an F1.4 aperture and autofocus capabilities.

The 135mm F1.4 DG Art has 17 elements in 13 groups, with four FLD elements and two aspheric lenses. It has a 13-blade aperture and a minimum focusing distance of 110cm (43.4").

The lens weighs 1420g (50.1oz) and accepts 105mm filters. It's also relatively short, coming in at 137.5mm (5.4") long, which is around the same size as Nikon's 135mm F1.8 'Plena' (though that lens is significantly lighter and narrower). It has a removable Arca-Swiss-style tripod collar with markings at 90° intervals.

As with many of Sigma's primes, the 135mm F1.4 has an aperture ring, which can be set to clicked or declicked with a switch. There are also switches for focus mode and aperture lock, as well as an autofocus lock button.

The 135mm F1.4 DG Art will be available for Sony E and L mount, and will cost $1899.

Press release:

Ronkonkoma, NY, September 9, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to introduce the Sigma 135mm F1.4 DG | Art lens for full-frame mirrorless cameras, available in late September 2025. It is the world's first autofocus 135mm F1.4 prime lens designed for full-frame mirrorless.

The Sigma 135mm F1.4 DG | Art is a large-aperture, medium telephoto lens with uncompromising resolution for a crystal-clear image and exceptional bokeh for a smooth, blurred background. As the longest focal length prime lens in the Art F1.4 series for full-frame mirrorless cameras, this lens is ideal for professional photographers specializing in wedding and fashion portraiture, and for photographers aiming to produce portraits of the highest overall quality. The fast F1.4 aperture is designed to create exceptionally smooth, beautiful bokeh, while the 135mm focal length will provide an immersive sense of depth. This compression effect, characteristic of telephoto lenses, enhances the composition by helping the subject stand out against the background, making this lens ideal for portrait photographers aiming to take their work to the next level.

Swift, accurate autofocus is driven by Sigma’s HLA (High-response Linear Actuator) motor, allowing for fast subject acquisition and tracking. Several features support a variety of shooting styles, such as an intuitive de-clickable aperture ring, and customizable AFL buttons located on the side and top of the lens.

Outstanding edge-to-edge resolution is achieved, even at maximum aperture, by adopting an optical design of 17 elements in 13 groups, including 4 FLD and 2 aspherical glass elements. Aberrations are thoroughly corrected, and flare and ghosting are kept to a minimum.

Build quality is exceptional, as is characteristic of the Sigma Art line. The lens features a gasketed mounting surface, water and oil-repellent coating on the front element, and an overall dust and splash-resistant structure that helps maintain lens performance in challenging environments.

The Sigma 135mm F1.4 DG | Art lens will be available in late September at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $1,899 USD.

Revolutionizing portraits with the world’s first* AF 135mm F1.4.

The Sigma 135mm F1.4 DG | Art is the world’s first 135mm autofocus lens to achieve a maximum aperture of F1.4, delivering exceptional expressive capabilities for portrait photography. Its unrivaled large bokeh and stunning resolution that renders every detail create an extraordinary sense of depth and dimensionality. The natural perspective and moderate shooting distance unique to 135mm, combined with the rich bokeh of the bright F1.4 aperture, make the subject stand out and render on an entirely different level compared to conventional 135mm F1.8 lenses. Built on extensive expertise gained from developing numerous F1.4 prime lenses, this new 135mm lens from Sigma sets a new standard in portrait photography.

* As of September 2025, by Sigma.

KEY FEATURES

Large bokeh for powerful visual expression

Unmatched large bokeh opens up new expressive possibilities

The most notable feature of the Sigma 135mm F1.4 DG | Art is its extremely large bokeh. The effective aperture diameter* of the 135mm F1.4 lens produces exceptional bokeh, which is larger than that of the Sigma 105mm F1.4 DG HSM | Art known as ”Bokeh Master,” and is comparable to that of the Sigma 200mm F2 DG OS | Sports. The natural perspective unique to 135mm, together with its overwhelming bokeh, highlights the subject and creates dimensional portraits achievable only with this lens.

* The effective aperture diameter is calculated by dividing the focal length by the F-number. It refers to the diameter of the light beam that forms an image at the center of the image sensor. A larger effective aperture results in a shallower depth of field and more pronounced bokeh.

Optical design optimized to produce natural bokeh

Thorough correction of chromatic aberration, which is common in telephoto lenses, achieves clear bokeh without color bleeding.The design also minimizes vignetting, rendering natural, near-circular bokeh even at the edges―fully utilizing the wide-open aperture

Sigma’s craftsmanship behind beautiful bokeh

A 13-blade diaphragm maintains a circular bokeh shape, while exceptional precision in aspherical lens processing further enhances its smoothness. This beautiful, natural bokeh is the result of Sigma’s know-how gained through development of F1.4 prime lenses over many years and the advanced manufacturing technology cultivated at its Aizu factory.

Precision optics for exquisite portrait detail

Clear subject detail even at maximum aperture

Four large FLD glass elements are positioned, along with strategically placed high-dispersion glass elements to thoroughly suppress axial chromatic aberration, which tends to be more pronounced in large-aperture telephoto lenses. As a result, the lens delivers crisp subject detail even when shot wide open, making full use of the exceptionally shallow depth of field unique to a 135mm F1.4

Floating focus system for consistent sharpness

A floating focus system moves the two focus lens groups independently, ensuring consistently high resolution across the entire focus range.

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology and Sigma’s Super Multi-Layer Coating. High backlight resistance enables clear and sharp images under any lighting conditions.

Fast, accurate autofocus to capture fleeting expressions

Dual HLA for fast, precise autofocus

Each of the two focus groups is driven by its own HLA (High-response Linear Actuator), forming a dual HLA system. By incorporating two distinct types of HLAs, each optimized for the movement range of a focus group, the dual HLA system ensures both the high thrust needed for large-aperture telephoto lenses and fast, precise AF performance. This allows even fleeting expressions and fast-moving subjects to be captured with exceptional reliability.

A wealth of functions for professional use and excellent build quality

Various shooting assist functions

The lens is equipped with an AFL button in two locations, which can be assigned to a range of functions via the menu on selected cameras. In addition to the aperture ring, the lens is equipped with an aperture ring lock switch and a click switch to turn the click on and off.

Dust- and splash-resistant structure* and water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the front element of the lens features a water- and oil-repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.

* The structure is designed to be dust- and splash- resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

Excellent build quality of Sigma’s Art line specifications

Metal components such as aluminum and magnesium alloys are combined with engineering plastics like TSC*, strategically placed throughout the construction. This balances the durability required to support the optical system of a large-diameter lens with the lightweight design necessary for comfortable handling. The Art line offers remarkable rigidity, durability, and build quality for long-term reliability as a tool of expression.

* TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminium. It has a high affinity to metal parts, which contributes to high quality product manufacturing.

Arca-Swiss compatible tripod socket for long studio shoots

The lens comes with a lightweight yet robust tripod socket made of magnesium alloy, compatible with Arca-Swiss clamps. It provides excellent stability during studio sessions and extended shooting, helping photographers stay focused on their creative expression. The tripod socket is also removable and can be replaced with the supplied protective cover.

Supplied hood with a button-type locking mechanism

The supplied hood is equipped with a button-type locking mechanism for secure attachment. It is constructed from CFRP, a polycarbonate material reinforced with carbon fiber, making it both lightweight and durable.

LIST OF FEATURES

• HLA (High-response Linear Actuator)
• Water- and oil-repellent coating
• Aperture ring
• Aperture ring lock switch
• AFL button (2 locations) *1
• Focus mode switch
• Dust- and splash-resistant structure
• Mount Conversion Service available
• Support for switching between linear and non-linear focus ring settings (for L-Mount only*2)
• Compatible with USB Dock UD-11 (sold separately / for L-Mount only)
• Every single lens undergoes Sigma’s proprietary MTF measuring system

1. Assignment of functions is limited to supported cameras and assignable functions vary depending on the camera.

2. Only on supported cameras.

Sigma has announced a second-generation version of its full-frame 35mm F1.2 'Art' lens, after teasing that it was coming earlier this year. The company says the 35mm F1.2 DG II Art, coming for Sony E and L mount, is smaller and lighter than its predecessor, while offering better optical and autofocus performance.

The lens has 17 elements in 13 groups, with four aspheric lenses and one SLD element. The original 35mm F1.2 DG DN Art, meanwhile, had 17 elements in 12 groups, with three SLD and aspherical elements. Sigma says the new optical formula will reduce color fringing and coma. The II's extra group is thanks to a floating focus design, where there are now two focusing groups that can move independently.

Speaking of focus, the II now has dual linear autofocus motors, versus the original's ring-type ultrasonic design. The minimum focusing distance is ever so slightly improved, now at 28cm (11.1") instead of 30cm (11.8"). Additionally, Sigma says it has less focus breathing, making it more useful for video shooters.

The II is also substantially smaller than its predecessor, coming in at 20% shorter and 30% lighter. In fact, it's roughly the same length as Sigma's 35mm F1.4 lens, though it's still around 100g (3.5oz) heavier and has a 5mm (0.2") larger diameter. While older F1.2 took 82mm filters, the new version now uses 72mm ones, which can sometimes be significantly cheaper.

The lens keeps its predecessor's aperture ring, which can be set as clicked or de-clicked, and adds an aperture ring lock switch. It also retains an AF-L button.

The Sigma 35mm F1.2 DG II Art will cost $TK – TK from the $1499 MSRP of its predecessor – and will be available starting TK.

Press release:

Ronkonkoma, NY, September 9, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to introduce the Sigma 35mm F1.2 DG II | Art lens for full-frame mirrorless cameras, available in late September 2025. It is designed as the successor to the Sigma 35mm F1.2 DG DN | Art released in 2019, and follows in the footsteps of the ultra-fast, high-performance 50mm F1.2 DG DN | Art lens released last year.

The Sigma 35mm F1.2 DG II | Art, evolving from the original 35mm F1.2 and following the need for a more compact lens to pair with mirrorless cameras, now features a much smaller footprint, comparable in size to the 35mm F1.4 DG DN | Art. Autofocusing performance has been upgraded, and overall optical quality has also been improved. With its bright F1.2 aperture, the lens is ideal for nightscape photography in addition to portraiture, landscapes, street photography, and many other genres that embrace the 35mm focal length.

Thorough correction of axial chromatic aberration and sagittal coma flare contributes not only to the sharpness of the image plane, but also to the bokeh effect. The lens delivers beautiful bokeh without color fringing, double-line bokeh, or any other irregularities from its maximum aperture. The 11-blade rounded diaphragm maintains a circular bokeh shape even when the aperture is stopped down.

As a result of the optical and mechanical design incorporating the latest technology, the new 35mm F1.2 DG II | Art is significantly smaller and lighter than the previous model. The filter diameter has been reduced by two sizes from 82mm to 72mm; the overall length of the lens has been shortened by approximately 20%, and the weight has been reduced by approximately 30%.

Additionally, focusing performance surpasses that of the previous model by adopting a floating focus configuration that moves two focus groups independently. Adopting the dual HLA (High-response Linear Actuator) system, this lens has two focus groups that are each driven with individual linear motors. The floating focus system also minimizes focus breathing, making the lens suitable for video recording.

The Sigma 35mm F1.2 DG II | Art lens will be available in late September at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $1,549 USD.

Great made better: the exceptional resolving power and beautiful bokeh of Sigma’s world-leading 35mm F1.2 in a smaller, lighter body

In 2019, Sigma released the 35mm F1.2 DG DN | Art, the world's first 35mm mirrorless camera lens with an F1.2 aperture. Six years later, Sigma is proud to introduce its successor, the 35mm F1.2 DG II | Art.

Designed and engineered with Sigma's latest technology, the 35mm F1.2 DG II | Art offers not only improved optical performance, but also greatly enhanced portability thanks to a significant size reduction of approximately 30%. With its improved design, the lens delivers unparalleled rendering power, high-resolution clarity and large, beautiful bokeh in a more portable form. Focus breathing is also effectively minimized, ensuring outstanding results not only in still photography, but also when shooting video.

The Sigma 35mm F1.2 DG II | Art is an exceptional, uncompromising lens that achieves the perfect balance of optical performance, brightness, compact size, light weight and ease of use.

KEY FEATURES

Unrivaled rendering power, beautiful bokeh and crystal clear images even at F1.2

Extreme suppression of chromatic aberration and sagittal coma flare

The Sigma 35mm F1.2 DG II | Art offers even better optical performance than its predecessor, with brilliant clarity throughout the image, even at the fully open F1.2 aperture. The use of SLD glass, highly refractive glass with high anomalous dispersion, and four glass-molded double-sided aspherical elements thoroughly corrects axial chromatic aberration and sagittal coma flare, while significantly reducing the lens size.

Brilliant sharpness and the large, beautiful bokeh of an F1.2 aperture

In designing the 35mm F1.2 DG II | Art, Sigma paid special attention to correcting the various optical aberrations that affect image quality. Thanks to these meticulous efforts, the lens delivers brilliant sharpness of the in-focus plane and beautiful bokeh that suppresses color bleeding and double line bokeh. Photographers will appreciate the rich, expressive rendering qualities and the beautiful interplay between the in-focus and out-of-focus areas, especially when shooting wide open at F1.2.

Designed to minimize focus breathing

Optimization of the focus group arrangement and aspherical shape significantly suppresses focus breathing. As a result, changes in field of view are effectively suppressed when the focusing distance is changed, making the lens an ideal choice for professional video use.

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

Significantly reduced size and weight

Better performance, smaller size and lighter weight thanks to the floating focus system

The Sigma 35mm F1.2 DG II | Art achieves even better optical performance than its predecessor while being approximately 30% lighter and 20% shorter. A key factor behind this is the adoption of a floating focus design: by allowing the lens groups to move independently of each other, the weight of each lens group has been significantly reduced while simultaneously enhancing optical performance. Additionally, the improved optical design features four aspherical lens elements, high refractive index glass, and thinner lens elements, further contributing to its exceptional performance.

Fast and quiet autofocusing with dual HLA system

The dual HLA (High-response Linear Actuator) system drives each of the two focus groups by an individual linear motor. In addition, the use of multiple magnets in each motor allows for a compact focus unit design without sacrificing high thrust. Compared to conventional cam-driven systems, the dual HLA system is not only significantly lighter, but also guarantees fast, reliable and quiet autofocusing.

Designed and engineered for professional use

A long-lasting, reliable tool for photographic expression

Manufactured and assembled in Aizu, Japan, using high-precision parts made of aluminum, TSC*1 and other materials, the 35mm F1.2 DG II | Art is a sophisticated and durable photographic tool designed according to Sigma’s Art line specifications.

1. TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has a high affinity to metal parts, which contributes to high quality product manufacturing.

A wealth of shooting assist functions

The lens features an AFL button that can be assigned a variety of functions on compatible cameras. In addition, the aperture ring can be locked with the dedicated lock switch and changed from clicked to declicked with the dedicated click switch.

Dust- and splash-resistant structure*2 and water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the front element of the lens features a water- and oil-repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.

2. The structure is designed to be dust- and splash- resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

Petal-type hood with locking mechanism

The Sigma 35mm F1.2 DG II | Art comes with a dedicated petal-type hood that shields the front element from stray light to reduce the chance of unwanted flare. The hood attaches securely to the lens with a locking mechanism.

LIST OF FEATURES

• HLA (High-response Linear Actuator)
• HLA (High-response Linear Actuator)
• Water- and oil-repellent coating
• Aperture ring
• Aperture ring click switch
• Aperture ring lock switch
• AFL button (1 location)*1
• Focus Mode switch
• Dust- and splash- resistant structure
• Mount Conversion Service available
• Support for switching between linear and non-linear focus ring settings (for L-Mount only*2)
• Compatible with Sigma USB Dock UD-11 (sold separately / for L-Mount only)
• Every single lens undergoes Sigma’s proprietary MTF measuring system

1. Assignment of functions is limited to supported cameras and assignable functions vary depending on the camera.

2. Only cameras that are compatible with the system are allowed to use the system.

Sigma has announced pricing and availability for the AF Cine Line 28-45mm T2 FF, its first autofocus cinema lens for full-frame cameras, which it teased earlier this year. The lens is based on the company's mirrorless 28-45mm F1.8 DG DN Art lens, but Sigma says it has "completely redesigned electrical and mechanical parts to provide the focus and aperture drive features required for use with cinema cameras."

The company says the lens has a clickless aperture ring and standard gears for use with follow-focus systems. Its autofocus system is driven by a linear motor, the same one found in the mirrorless version. Sigma says the E mount version will be compatible with Sony's Direct Manual Focus and AF Assist features, and with L mount cameras' AF+MF system.

Despite the much chunkier housing and gears, the cinema lens only weighs 60g more than the Art model.

The Sigma AF Cine Line 28-45mm T2 FF will be available in early November and will retail for $3399, a roughly $1900 premium over the mirrorless version.

Ronkonkoma, NY, September 9, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to introduce the Sigma AF Cine Line 28-45mm T2 FF, the first lens in the AF Cine Line and first Sigma Cine lens to feature autofocus capabilities.

Based on the optical formula of the 28-45mm F1.8 DG DN | Art lens, the 28-45mm T2 FF is designed to support full-frame camera sensors with completely redesigned electrical and mechanical parts to provide the focus and aperture drive features required for use with cinema cameras. In addition, the appearance and build quality are representative of a premium cinema lens, with exceptional dust- and splash-resistant performance for use in varied environments.

Similar to the 28-45mm F1.8 DG DN | Art, the autofocus of the 28-45mm T2 FF is driven by a High-response Linear Actuator (HLA) motor. For manual focus operation, this lens features a focus ring with a distance scale and fixed rotation range. It is compatible with DMF (Direct Manual Focus) and AF Assist on Sony E-mount, as well as the AF+MF function on L-Mount.

Weighing in at 960g*, the 28-45mm T2 FF is only 60g heavier than the 28-45mm F1.8 DG DN | Art, and both lenses are the same length. The 28-45mm T2 FF is also compatible with 82mm front filters, as well as commercially available matte boxes with the addition of the optional clamp-on ring (sold separately).

The Sigma AF Cine 28-45mm T2 FF lens will be available in early November at authorized Sigma Cine Lens dealers in the US for Sony E-mount and L-Mount for a retail price of $3,399 USD.

* Measurements are for L-Mount

AF Cine Line 28-45mm T2 FF

• Advanced optical design and outstanding rendering performance
• Professional-grade mechanical design and operability
• AF system with excellent tracking capability and near-silent operation

Available mounts: L-Mount, Sony E-mount

Supplied accessories: Front Cap LCF-82 IV, Rear Cap LCR III, Lens Support Foot SF-91

Launch: November 6, 2025

* Product appearance and specifications are subject to change.

* L-Mount is a registered trademark of Leica Camera AG.

* This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

Revolutionizing cinema with the autofocus cine line

As the first AF-compatible Cine Lens series from Sigma, the Sigma AF Cine Line brings innovation to the film production scene.

Building on the optical system of Sigma’s Art lenses, the AF Cine Line offers exceptional rendering performance, along with high-precision autofocus with excellent tracking capability, combined with the ergonomics required for professional cinema production. This allows it to handle multiple shooting styles and on-set environments that were previously challenging with traditional still lenses or cine lenses.

The AF Cine Line, which embodies Sigma’s latest technology, expands the possibilities of visual expression and brings new possibilities to future film production.

KEY FEATURES

Advanced optical design and outstanding rendering performance

The optical systems of the Sigma 28-45mm T2 FF incorporate the designs of the highly acclaimed still lenses: the Sigma 28-45mm F1.8 DG DN | Art. Combining the experience gained through years of lens design, the latest development technology, and the advanced manufacturing techniques of Sigma's sole production base, the Aizu factory, these lenses deliver exceptional resolution and beautiful bokeh regardless of focal length or focus position, along with a sharp, clean look with minimal flare and ghosting.

Professional-grade mechanical design and operability

Inheriting the rendering performance and reliability of Sigma’s Art lenses, the AF Cine Line integrates cinema-style mechanics and operability, optimized for professional cinema production. It features a limited-rotation focus ring, industry-standard 0.8M pitch gears, and a clickless aperture ring to meet industry demands.

AF system with excellent tracking capability and near-silent operation

Equipped with a linear motor HLA (High-response Linear Actuator), the Sigma AF Cine Line captures intense movements in action scenes, rapid focus shifts in gimbal or handheld shooting, and unpredictable moments in documentaries without missing a split second, providing reliable support for filmmakers in various situations.

Sleep is often treated as downtime, a passive break between the real business of being awake. But a new study has revealed that sleep is active, essential biology, showing how the brain uses the night to flood the body with growth hormone to repair muscles, strengthen bones and balance metabolism. Researchers have uncovered the neural circuitry that explains why growth hormone surges during shut-eye, and why cutting corners on sleep undermines our physical health.

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Category: Sleep, Wellness and Healthy Living, Body and Mind

Tags: University of California Berkeley, Muscle, Age-Related, anti-aging, Hormone, Sleep deprivation, Neuroscience

A glue-gun-like device that can be used to print biodegradable bone grafts directly into fractures could revolutionize orthopedic surgery, offering personalized implants that speed healing and cut infection risks.

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Category: Medical Innovations, Body and Mind

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Around the same time we were digging up a 2025 update for the radical CudaJet pack, a different spin on underwater jetting was just surfacing into the public conscious. Like the CudaJet, Kikfin's wearable puts a multi-jet array on your back to power you to faster speeds under the surface of the sea.

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Category: Boats and Watersports, Toys, Outdoors

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BMW has been one of the forerunners in the roof scooter segment, having been at it since the early 2000s with the C1. For much of the last few years, the concept had been largely forgotten – until BMW unveiled the Vision CE last month.

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So, you're pretty impressed with that local lake crossing you made on your stand-up paddle board. Well, later this month, German water sports enthusiast and environmental activist Michael Walther will attempt to cross the Atlantic Ocean on an SUP. If he succeeds, he will be only the second person to ever do so.

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The LK Samyang / Schneider Kreuznach AF 24-60mm F2.8 FE

Photo: LK Samyang / nullnullphotos

LK Samyang has announced an autofocus 24-60mm F2.8 full-frame zoom for Sony's E-mount. It's the second lens co-developed with German lensmaker Schneider Kreuznach.

The AF 24-60mm F2.8 joins the 14-24mm F2.8, announced earlier this year. A mockup of the 24-60mm was shown at the CP+ trade show in Japan, in February.

The company hasn't provided full specifications of the lens, but the product images show it to be relatively compact, presumably helped by its shorter-than-usual reach, at its long end. At 102mm long and 500g, it sits directly between Sony's larger, heavier 24-70mm F2.8 GM II and its smaller, lighter 24-50mm F2.8 lenses.

The lens will be formally unveiled at the International Broadcasting Convention in Amsterdam, The Netherlands on September 12th. We'll add more details as they become available.

Press release:

5th IBC Participation Marks Strengthened Compact High-Performance Zoom Lineup

Seoul, 12 September 2025 – LK Samyang, formerly known as Samyang Optics, is Korea’s only optical company that designs, manufactures, and markets interchangeable lenses under its own brand. With over 50 years of Korean optical heritage, LK Samyang has built a trusted reputation for delivering innovative and high-quality lenses worldwide.

Alongside its photographic lens business, the company also operates XEEN, a dedicated cinema lens brand that celebrates its 10th anniversary this year. Together, the two brands embody the vision:


“LK Samyang & XEEN – Trusted Technology, Empowering Creators Worldwide.”

At IBC 2025 in Amsterdam (September 12–16), one of the world’s leading exhibitions for broadcasting and film equipment, LK Samyang will officially unveil its latest innovation: the AF 24-60mm F2.8 FE. Co-developed with Germany’s renowned optical manufacturer Schneider-Kreuznach, this release marks the company’s second collaborative zoom lens and highlights LK Samyang’s 5th participation at IBC, demonstrating its commitment to advancing optical solutions for photographers and creators worldwide.

Earlier this year, LK Samyang and Schneider-Kreuznach launched the AF 14-24mm F2.8 FE, the world’s first front-filter-compatible super-wide zoom lens for Sony E mount, which gained strong global recognition. Building on this success, the new AF 24-60mm F2.8 FE extends the lineup to the standard zoom range, offering uncompromised optical quality in a compact and lightweight design tailored for both photography and video creation.

• Versatile Standard Zoom: Covers the essential 24–60mm range

• Constant F2.8 Aperture: Delivers exceptional low-light performance and creative depth of field

• Compact & Lightweight: Designed for portability without sacrificing professional performance

• Creator-Centric Design: Perfect for photography, videography, vlogging, and versatile content creation

Together with the AF 14-24mm F2.8 FE, the new AF 24-60mm F2.8 FE embodies LK Samyang’s philosophy of delivering “Compact High-Performance Zooms,” completing a strengthened zoom lens lineup that empowers photographers and creators to explore new perspectives and storytelling possibilities.

Mr. Piet Thiele, Head of Photo / Cine at Schneider-Kreuznach, stated:
“

At the beginning of the year, we laid the successful foundation for our partnership with LK Samyang with the AF 14-24mm F2.8 FE. With the new AF 24-60mm F2.8 FE, we are now following up quickly on our collaboration and taking the next step: a versatile zoom lens that gives creative minds even more freedom to realize their ideas and discover new perspectives.”

Mr. Bonwook Koo, CEO of LK Samyang, commented:


“The AF 24-60mm F2.8 FE is the second zoom lens co-developed with Schneider-Kreuznach and represents a significant milestone in completing our zoom lens portfolio. By combining over 50 years of optical expertise with the proven experience from our collaboration with Schneider, we continue to deliver innovative solutions that inspire creators worldwide. We are proud to present this lens at our 5th IBC participation and look forward to the excitement it will bring.”

The AF 24-60mm F2.8 FE will be officially unveiled on September 12, 2025 at IBC Amsterdam, and will be made available to global markets following the exhibition.

If you've been following closely at this point, you've already seen plenty of sample images from the Hasselblad X2D II, and probably have a pretty good idea of how well it performs. Of course, we've also put it in front of our studio scene to make it easier to directly compare its image quality to that of other cameras.

As a note: the out-of-camera JPEGs were shot using the camera's Ultra HDR JPEG mode, which adds a gain map on top of a standard JPEG. The comparison tool doesn't support dipslaying them in a way that highlights the bright areas of the image, but you can view them by downloading the original file, and opening it on a device with an HDR display.

Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

Unsurprisingly, the X2D II's Raws provide superb amounts of detail at low ISOs, besting the single-shot performance of the a7R V's 61MP sensor and matching the GFX 100S II. At its base ISO of 50, it provides the cleanest image of the bunch; the GFX 100S II has slightly more noise, but still outperforms the a7R V thanks to its larger sensor.

Its JPEGs, however, don't seem to quite do that level of detail capture justice, with the finest parts of the image looking a little softer than they do with the GFX 100S II. The details are generally still present in the JPEG, but they don't stand out as much, at least when viewed 1:1 (though that's likely to be a very unusual use-case for images taken on this camera).

The X2D II's Raws continue to look good even at higher ISOs, though its chroma noise is more noticeable than Fujifilm's. And while the JPEG engine doesn't reduce noise as aggressively, that means it does a better job at preserving details.

We had no issues capturing vibrant colors with the X2D II.

Click here to view the original file, which will display in HDR if you have a compatible device.

Hasselblad XCD 35-100mm E | 60mm | F3.5 | 1/500 sec | ISO 100

Back at lower ISOs, the Hasselblad's colors are generally less saturated than Fujifilm's or Sony's, though in our use outside the studio, we found that it still produced pleasing skin tones for portrait work. We also didn't have any issues with getting images that popped with vibrant colors, especially with HDR switched on.

As we've come to expect from this sensor, the X2D II has excellent dynamic range at its base ISO, with very little read noise. This means you won't face much penalty for taking an image at ISO 50 to get the maximum DR, then boosting it in post, compared to taking an image at a higher ISO to achieve your desired lightness.

Its files also hold up well when you're boosting shadows, which is helpful if you're shooting at lower ISOs to protect your highlights with plans to brighten the image in post.

Exposure Latitude | ISO Invariance

A new study significantly strengthens the case that attention-deficit/hyperactivity disorder (ADHD) brains are structurally unique, thanks to a new scanning technique known as the traveling-subject method. It isn't down to new technology – but better use of it.

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Many photographers rarely consider memory card care. We tend to use and abuse our cards, with little thought about how to keep them working at their best. And while memory cards are quite robust and durable these days, there are some best practices to keep in mind to prevent corrupt files or data loss.

Most of us have been there: You're out taking photos and your memory card is full, but you don't have another with you. Or perhaps you took some photos that you know you don't want. Deleting a handful of files from the camera can be tempting, but is that a smart move?

With modern cameras and cards, the biggest risk with deleting files in-camera is accidentally getting rid of files you actually want. After all, the displays on cameras are small, so it's hard to tell the difference between images. It's also challenging to see fine details that may help you determine if an image is a keeper. You're better off uploading your photos to a computer and selecting which ones you want to keep, then.

While card manufacturers used to caution against deleting photos straight from your camera, citing concerns about their competence with managing a file system, that's less of a risk with modern cameras. If you only ever manage your photos through the camera's UI, you may eventually run into issues, so do so sparingly if you're extra cautious. But deleting the occasional batch of photos from your camera in between formats should be fine.

Instead of deleting files one by one using the delete button on your camera, you're better off formatting your memory card. You can do so by finding the 'Format' option in your camera's menu. Formatting your card resets the file structure and reduces fragmentation. It essentially restores the card to a clean, original state for new data, which helps prevent any file system errors. Keep in mind, though, that formatting a memory card will wipe all data. Only format your card after you have safely backed up your files.

It's also important to format the card only in the camera you'll be using it in, not on a computer or a different camera. Formatting a memory card in the camera rewrites the file structure and prepares it for files from that specific device. Using a card formatted by a different device can risk file system corruption or card errors. It may also cause compatibility issues, resulting in the camera not writing files at all.

If you have a card that's acting up, or you want a truly clean slate, you may want to do a deep rather than a quick format. A deep format irretrievably deletes all the data, but puts more wear on your SD card. There's not much reason to do it unless it's a last-ditch effort to save a card that's having issues after a regular format, or to make sure sensitive images are gone for good.

It's smart to format your card after each shoot (or each time you transfer files) simply to make sure you don't accidentally delete photos that you haven't backed up. There's no worse feeling than going to transfer images you thought were on the card, only to realize you formatted it before copying the files to the computer. Formatting regularly can help minimize the risk of errors, but the bigger benefit is helping you keep track of all of your images.

Almost a decade after releasing its first ePaper tablet, reMarkable is adding a pocket-friendly edition "designed for work that happens anytime, anywhere, and with anyone." The Paper Pro Move sports a 7.3-inch color E Ink display and a two-week battery.

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Leidos has unveiled its Sea Dagger autonomous Commando Insertion Craft (CIC) concept developed as part of a modernization program that aims to provide 24 advanced surface craft for deploying UK Command Force (UKCF) strike teams.

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As more people embrace veganism, for health, ethics, or the planet, they're bumping into a furry conundrum: what do you feed your meat-loving dog when you don't eat meat yourself? It's a real ethical puzzle. After all, is it right to serve animal products to your animal when you're trying to avoid them?

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One of the US Air Force's first official combat drones has taken to the air after only a year of building and development. General Atomics's YFQ-42A is currently undergoing flight testing in anticipation of a future fleet of 1,000 autonomous planes

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